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Charles rennie Mackin<strong>to</strong>sh<br />
Bauhaus-Architects<br />
ludwig Mies van der Rohe<br />
Egon Eiermann<br />
Ralf Schüler<br />
Frank O. Gehry & Thomas Beucker<br />
Lord Norman Foster<br />
AndrÉe Putman<br />
ANKER-TEPPICHBODEN and post-war modernism<br />
The second phase <strong>of</strong> the modern era in Germany began with the buildings designed<br />
by Egon Eiermann. It was no longer the old Bauhaus teachers who now<br />
set about <strong>to</strong> shape the image <strong>of</strong> the Federal Republic <strong>of</strong> Germany but rather<br />
a new generation <strong>of</strong> architects. Egon Eiermann’s high-rise <strong>of</strong>fice building for<br />
delegates <strong>to</strong> the German Bundestag – also known as the “Langer Eugen” –<br />
and the German pavilion at the World’s Fair in Brussels were two <strong>of</strong> the most<br />
striking German buildings erected during this period.<br />
And the carpeting in both Bonn and Brussels was designed in cooperation with<br />
<strong>Anker</strong>-TEPPICHBODEN. The carpeting for the pavilion in Brussels featured<br />
a design developed by Pr<strong>of</strong>. Margret Hildebrand, the interior designer responsible<br />
for the project.<br />
Pho<strong>to</strong>: Work archives Egon Eiermann
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